Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Mozambique and from Seoul.
But I was there.
I was there in 1968.
I was there at the first Bowie show in Bromley.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1965 to 1972.
I'm losing my edge.
To all the kids in Johannesburg and Philadelphia.
I'm losing my edge to the art-school Jakarta kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1978 at the first Visage practice in a loft in London.
I was working on the marimba sounds with much patience.
I was there when Captain Beefheart started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Index to the grunge kids.
I played it at the Astoria.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Marc Almond. All the underground hits.
All Sexual Harrassment tracks. I heard you have a vinyl of every Althea and Donna record on German import.
I heard that you have a white label of every seminal grunge hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '60s cut and another box set from the '70s.
I hear you're buying an oboe and a harpsichord and are throwing your macbook out the window because you want to make something real. You want to make a Deepchord record.
I hear that you and your band have sold your synthesizer and bought a güiro.
I hear that you and your band have sold your güiro and bought a synthesizer.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rhythm & Sound,
The American Breed,
Sonny Sharrock,
The Toasters,
Derrick May,
John Holt,
Slave,
Neil Young,
Ken Boothe,
Pharaoh Sanders and the Fire Engines,
Don Cherry,
L. Decosne,
Tres Demented,
Selector Dub Narcotic,
Shoche,
The Remains,
T. Rex,
Strawberry Alarm Clock,
Basic Channel,
Aloha Tigers,
Teenage Jesus and the Jerks,
Masters at Work,
Lou Reed & John Cale,
Radiohead,
Ajijia Myrayebe,
Fifty Foot Hose,
Notorious BIG live in Amsterdam,
Clear Light,
The Motions,
Cluster,
Ornette Coleman,
Das Ding,
Grey Daturas,
Radiopuhelimet,
Dual Sessions,
Mo-Dettes,
Pulsallama,
Moby Grape,
Deadbeat,
Sarah Menescal,
Avey Tare,
Sight & Sound,
Panda Bear,
Main Source,
One Last Wish,
Spandau Ballet,
Oppenheimer Analysis,
Alice Coltrane,
Negative Approach,
The Cure,
Rhythim Is Rhythim,
The Velvet Underground,
It's A Beautiful Day,
Dark Day,
Alton Ellis,
Nils Olav,
Surgeon,
Grauzone,
Crime,
Neil Young & Crazy Horse,
Chrome,
Joe Smooth, Joe Smooth, Joe Smooth, Joe Smooth.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.